Batik, Batik, Batik: Textile Dominates Plaza Indonesia Fashion Week 2018

Jakarta Globe, Sylviana Hamdani, March 20, 2018

The organizers and designers of Plaza Indonesia Fashion Week 2018 at a press
conference at the mall last Thursday (15/03). (Photo courtesy of Magnifique PR)

Jakarta. Plaza Indonesia Fashion Week or PIFW, the annual fashion shows held at premium shopping mall Plaza Indonesia in Jakarta, started on Monday (19/03).

This is the eleventh PIFW held by the mall.

"PIFW is proof of our consistent support for Indonesia's fashion industry," Zamri Mamat, Plaza Indonesia's marketing general manager, said last Thursday.

This year, PIFW showcases the collections of 22 local and international labels at The Warehouse on the fifth floor of the mall.

A series of fashion shows by well-established Indonesian labels opened PIFW on Monday.

At 5.30 pm, Bin House by Indonesian textile maker Josephine Komara showcased its Spring/Summer 2018 collection.

"This is our first fashion show at PIFW. Our collection combines traditional batiks and edgy fashion," Wita, the in-house designer of Bin House, said.

The second show on Monday was SEBASTIANred by Indonesia's high-fashion legend Sebastian Gunawan.

Seba, as the designer is affectionately known, showcased his Lebaran and Summer 2018 collection called "Reminiscence," inspired by old photos.

Black, white and sepia dominated SEBASTIANred's evening gowns on the runway.

The first day culminated with "Nuswantara," a special collection by Iwan Tirta Private Collection (ITPC).

"This is our Spring/Summer 2018 collection," Era Sukamto, creative director of ITPC, said.

"The style is young and fresh. We also showcased old batik motifs collected by the late Iwan Tirta from Cirebon, West Java, that are heavily influenced the Chinese and Japanese," she said.

On Tuesday, Indonesian quirky ready-to-wear label Danjyo Hiyoji, in collaboration with local textile factory Lucky Trend, will present its Spring/Summer 2018 collection called "Splendor Force."

"The collection is inspired by millennials, it encourages freedom of expressions," Liza Mashita, co-founder and co-designer of Danjyo Hiyoji, said.

"We'll be using a lot of prints by Lucky Trend in the collection," Dana Maulana, co-founder and co-designer of the label, said. "We want to prove that Indonesian factories can also produce good quality textiles."

On Wednesday, toy company Hasbro will launch a special collection called "My Little Pony: Friendship Is Magic."

The collection features a range of shoes and ready-to-wears and is a collaboration with eight prominent Indonesian designers, including Lenny Agustin, Ria Miranda and Ni Luh Djelantik.

"This is the first collaboration with local designers that Hasbro Southeast Asia Consumer Products has been involved in, and also the first of its kind globally, with so many designers interpreting the story of 'My Little Pony,'" Bambang Sutedja, Hasbro International's Southeast Asia rep, said.

On Thursday, ready-to-wear brand (X) S.M.L will showcase its Autumn/Winter 2018 collection, called "Streetstyle."

"It's the same collection we'll showcase in Tokyo Fashion Week on March 19," Jun Mardian, creative director of the label, said. "We have 48 looks ready with deconstructed silhouettes and monochromatic colors."

Another interesting collection to be shown on the same evening will be a collaboration between premium batik brand Alleira and young designer Rama Dauhan.

"This collection will be fun and playful," Rama said last Thursday. "Alleira is known for its classic, mature styles, I'm more crazy and edgy. But we've worked together to create new oversized batik motifs with youthful colors that really pop up, such as pink, orange and purple."

PIFW as always keep the most exciting shows for the final day of the festival on Friday.

"The final day's theme is 'Kain' (textile)," Ria Juwita, Plaza Indonesia's events manager, said. "We'll highlight Indonesian textiles, especially batik."

"Batik is now part of our lifestyle," Ria continued. "They are office wear, street wear and gala wear. The possibilities [of using them] are endless."

The first show on Friday will feature a another collaboration between batik house Parang Kencana and young local designer Wilsen Willim.

Wilsen is known for understated and sleek monochromatic designs. It will be interesting what he comes up with working with Parang Kencana's rich, even loud, batik motifs.

Another exciting collaboration to be shown on Friday night will be between Iwan Tirta Private Collection and young couture designer Auguste Soesastro.

"This collaboration combines Auguste's strong designs and the deep philosophy of our batik pieces," Era Sukamto said. "It's been a very explorative experience for both of us."

The fashion week will conclude with a show by Populo Batik, who will present its Autumn/Winter 2018 collection called "Purity," which takes its inspiration from the Gandaki River in Tibet.

Yogyakarta, Solo to Host Celebration of Design and Culture

Jakarta Globe, Sylviana Hamdani, Sep 14, 2014

The annual gathering of the Asia Pacific Space Designer Alliance in Solo and
Yogyakarta will present top designers from around the region.  (Photos courtesy
of APSDA Indonesia)

Yogyakarta and Solo, two picturesque cities located in the heart of Java, still manage to retain their old charms in this dizzyingly fast-paced, modern world.

The birthplace of Indonesia’s kings and kingdoms, their cultural riches and traditional heritage are great national assets that act as sources of inspiration until this day.

The two cities will again do us proud as next week, from Sept. 15 to Sept.19, Yogyakarta and Solo will play host to the general assembly and congress of the Asia Pacific Space Designer Alliance (APSDA).

A confederation of design associations from across the Asia-Pacific region, the APSDA was established in Taipei in 1989 by the Chinese Society of Interior Designers (CSID), the Japanese Society of Commercial Designers (JDC) and the Korean Society of Interior Designers (KOSID).

Today, the design organization consists of 15 locally and internationally acclaimed members, including Australia, Indonesia, Malaysia, New Zealand and Thailand. It gathers every two years in different member countries.

Indonesia is currently represented by the non-profit Indonesia Interior Designers Association (HDII).

“It’s a big honor for Indonesia to be able to host the general assembly and congress of the APSDA this year,” says Lea Aviliani Aziz, secretary general of the APSDA and chairwoman of the HDII Jakarta’s chapter, adding that this year’s gathering is especially important as it will mark the 25th anniversary of the confederation.

“We’ve prepared a great concept and a string of interesting programs,” Lea says. “That’s why we won the pitching process, which was done in Beijing in 2010.”

This year marks Indonesia’s second turn as the APSDA host; the first one was held in Bali in 2000.

“[The Bali meeting] was very successful; it exceeded expectations,” Lea says. “The participants were amazed to see Indonesia’s rich cultures and traditions.”

Mystical design

This year, the APSDA’s general assembly and congress will revolve around the theme of “Mystical Design.” Yogyakarta and Solo were specially chosen as both cities perfectly represent the concept.

“Architects and interior designers are all spiritual translators,” says Francis Surjaseputra, chairman of the HDII. “We translate people’s ideas and fantasies, which are spiritual, into buildings and spaces. That’s a mystical work for me.”

Those fantasies usually blend with religious and cultural backgrounds.

“And that’s why Yogya and Solo would be the ideal venues for the gathering,” Francis says.

Both cities boast age-old traditional structures that speak to the glory of Javanese kingdoms past, as well as historical buildings that bear witness to the country’s struggle for independence.

“There is a lot for us to learn in these cities,” Francis says.

The theme also addresses the issue of the loss of cities’ cultural and historical overtones to modern spatial designs.

“It’s happening everywhere,” Francis says. “Cities around the world are getting pretty similar. A travel writer once wrote that when he woke up in the morning and looked out the window, he rarely ever recognized which city he was in. The sense of place is lost in modern cities.”

One of the aims of the APSDA meeting is to marry modern sophistication and local backgrounds in each country.

“It’s our duty as architects and designers to follow [modern] universal developments, without leaving behind our own local wisdom,” Francis says.

Participants at the meeting in Solo and Yogyakarta will also take part in tours to well-preserved traditional structures and historical buildings in both cities.

Roemah Rempah

The series of events will start with the APSDA general assembly at Solo’s Sunan Hotel on Monday, set to be opened by Solo Mayor F.X. Hadi Rudyatmo.

“During the general assembly, representatives from each country will present talks on the ‘Mystical Design’ topic,” says Francis, a graduate of the Parsons School of Art and Design in Paris.

“It will be an interesting opportunity for us to get to know design concepts from each country.”

There will also be a workshop on batik and a tour of Roemah Rempah, a one-of-a-kind design studio by Solo architect Paulus Mintarga, which uses discarded industrial materials in its structure.

“We hope that the visit will inspire architects and interior designers participating in this gathering to use old and discarded waste materials in their own buildings,” Francis says.

On the second day of the gathering, the APSDA participants will visit traditional batik workshops and antiques markets in Solo.

In the evening, they will visit the Mangkunegaran Royal Palace, the heart of the legendary Mataram Kingdom, and have dinner with the traditional royal family in the palace.

A series of dance and musical performances will be presented to the participants during the dinner.

On Wednesday, the participants will visit the ninth-century Borobudur temple, the world’s biggest Buddhist monument.

“We want to show to the international participants that we have one of the greatest temples in the world,” Lea says. “It’s well-preserved and still hosts religious and cultural events until now.”

From the temples, the APSDA participants will make the one-and-a-half-hour trip to Yogyakarta, where the APSDA congress will opened on Thursday at the Grand Royal Ambarrukmo Hotel.

Mari Elka Pangestu, the minister of  tourism and the creative economy, is scheduled to open the congress.

After the opening ceremony, the congress will then proceed with presentations and discussions by keynote speakers who are all experts in their respective design fields.

Holographs and pyrotechnics

Among the speakers on the first day of the APSDA congress will be Indonesian textile designer Josephine Komara, interior designer Hadiprana and art director Jay Subiyakto.

“We want to highlight Indonesian talent [in the forum] and show how much creative designs have become interwoven into our daily lives,” Lea says.

Jay will talk about his involvement in the epic dance and musical performances “Matah Ati” (2011) and “Ariah” (2013).

In “Matah Ati,” Jay created an elevated trapezium-shaped stage made of stainless steel. With the elevated platform, the audience was able to see everything that was happening onstage.

“It’s scenography, the art of taking the audience into the play,” Jay says. “It’s also part of study in spatial design.”

“Matah Ati” was presented in Singapore, Jakarta and Solo in 2011 and garnered rave reviews from the media, critics and audiences.

In “Ariah,” Jay similarly mesmerized the audience by creating another elevated platform, measuring a colossal 72 meters by 48 meters, to present the story of Jakarta’s founding, against the backdrop of the National Monument, or Monas. A series of holographic and pyrotechnics plays were also presented in the open-air Monas park.

“People should know that Indonesia also has fascinating theatrical plays, just like on Broadway,” Jay says. “And they’re all deeply rooted in our traditions.”

On Friday, the fifth day of the APSDA gathering, organizers will present another impressive lineup of keynote speakers in discussion forums, including Australian architect Richard Kirk, Garuda Indonesia president director Emirsyah Satar, and Malaysian geomancy expert David Koh.

The gathering will culminate with an al-fresco farewell dinner at the Prambanan temple complex.

“It will be a cultural night,” Lea says. “During the dinner, we will present the epic Ramayana dance performance at the temple. Lanterns and firecrackers will also highlight the performance.”

Networking opportunity

All the APSDA events will be open to the public, with students and members of the public encouraged to choose among the several program schedules available.

For Indonesians, the registration fees range from Rp 1.3 million to Rp 7.5 million ($110 to $635). For foreigners, the fees range from $275 to $1,700.

“It will be well worth it,” Lea says. “The fees also cover accommodation, meals and transportation costs during the events.”

Another benefit of participating in the events is the chance to get to know the international delegates.

“It’ll be a great opportunity to meet these great people and learn from them,” Lea says. “On the other hand, they can also learn about your works and maybe be interested in doing business with you.”

Indonesian delegates will also have a chance to learn more about the country’s own rich cultural heritage.

“Learning about our own traditional cultures and traditions will hopefully encourage Indonesian designers to perpetuate them in their next modern designs,” Lea says.

A Greener Path to Fine Batik Fashion

Sylviana Hamdani looks at efforts to adopt batik production methods that are better for the planet

Jakarta Globe, Sylviana Hamdani, July 9, 2013

A model shows off a natural-dye design
as part of the ‘Clean Batik Initiative,’ a
 collaboration between fashion designers
 and textile makers. (Photo courtesy of
Ekonid)

Batik is synonymous with Indonesian elegance and is a source of national pride.

Acknowledged in 2009 by Unesco as a Masterpiece of the Oral and Intangible Heritage of Humanity, Indonesian batik is seen everywhere — boardrooms, glamorous parties and even malls.

But unfortunately, batik production is not very environmentally friendly. Batik home industries usually operate with excessive use of water, wax and chemicals that can harm people and the natural environment in the long run.

“I’ve seen a whole river turned red from the chemical waste that comes from batik-making,” said Frans, a designer at Batik Fractal, a batik fashion house based in Bandung.

The Clean Batik Initiative of the German-Indonesian Chamber of Industry and Commerce (Ekonid) was launched in 2010 to address the concern.

The four-year program, co-financed by the European Union under the Switch-Asia grant, aims to influence discussion on Indonesian batik by introducing sustainable production and consumption.

From 2010 to 2012, CBI programs focused on sustainable production. Through workshops, seminars and training sessions, the CBI team encouraged small batik makers to produce their wares in more environmentally friendly ways.

CBI project coordinator Martin Krummeck said recently: “We’re proud to announce that this year we’ve successfully reached our target of assisting over 500 batik SME’s across six provinces in Indonesia.”

The small-to-medium enterprises receiving CBI coaching are in Yogyakarta, Cirebon (West Java), Pekalongan (Central Java), Sumenep (East Java), Makassar (South Sulawesi) and Tarakan (North Kalimantan).

CBI entered its final year in 2013 and, to mark this milestone, the CBI team invited five Indonesian designers — Carmanita, Caterina Hapsari, Frans, L e n ny Agustin and Musa Widyatmodjo — to cooperate with designated batik makers on a series of fashion mini-collections.

High fashion

The designs produced through the collaborations were recently the subject of a gala fashion show and exhibition.

Models show off natural-dye designs that
 are the fruits of the ‘Clean Batik Initiative,’
 a collaboration between fashion designers
 and textile makers. (Photo courtesy of
Ekonid)

“EcoBatik Signature Collection,” saw the five designers present 42 outfits made from eco-friendly batiks.

Senior fashion designer Musa said EcoBatik was batik with “a beautiful story about the production process, natural dyes, natural forces like the sun and wind.”

Musa’s mini-collection, for men, was themed “Natural Society.” The collection consisted of men’s casual and formal batik shirts in dark, earthy colors. “I hope Indonesia will soon become a natural society with EcoBatik,” Musa said.

All the batik shirts shown were made of breathable natural fibers, such as linen and cotton and paired with tailored pants and Bermuda shorts.

Caterina’s green showcase was titled “Exotic Silhouette of Indonesia” and consisted of elegant evening gowns made of a combination of batik on silk, brocade and tulle.

“My designs are my personal interpretation of the cultural heritage, to combine the modern with the traditional,” Caterina said.

Batik Fractal presented a mini- collection inspired by the German Bauhaus movement of between 1919 and 1933 that combined crafts and fine art. The collection, designed with special software, consisted of casual and cocktail dresses made of a combination of batik on cotton and tweed, with elegant patterns of flowers and poison ivy.

“We’re very honored to be appointed as the youngest designer partner for this program,” Frans said. “With our participation in CBI, we hope to bring in younger customers to this natural and traditional fashion style and create a new market for it.”

Lenny wowed the audience with clothes very different from her usual vibrantly colored collections.

Themed “In the Woods,” Lenny’s collection featured men’s and women’s casual items in a subdued palette of pale green, brown, khaki and sky blue.

Despite the more subdued colors, Lenny’s batiks are endearing, patterned as they are with flowers and butterflies.

“It’s quite a challenge for me,” Lenny said. “Personally, I love very vibrant colors, while natural-dyed batiks have pale or dark colors. But surprisingly, my customers really love [the new collection].”

A founder of the Indonesia Batik Foundation (YBI), Carmanita presented a series of elegant batik evening dresses of silk and lace.

The senior designer has been involved with the Clean Batik Initiative from the start of the program in 2010.

She said that while she was already using natural-dye batiks in her collections, “the CBI program has got me more involved with the batik artisans.”

How it works

Models show off natural-dye designs that
 are the fruits of the ‘Clean Batik Initiative,’
 a collaboration between fashion designers
and textile makers. (Photo courtesy of
Ekonid)

With the CBI team, Carmanita tutored batik artisans to use natural dyes for batik.

Secang (Caesalpinia sappan) bark and banana stem, for example, are combined for a dark ruby color, while belimbing wuluh (Averrhoa bilimbi) is used to produce a rich blue. Mahogany bark, meanwhile, is used for dark purple.

Carmanita encouraged the artisans to themselves grow the species they would use for natural dyeing and also recommended turning to local wet markets as well as nearby farms as a source of dye materials and as an alternative to harvesting the raw materials from the wild.

Batik Mayani is an SME batik-maker in Cirebon that has adopted these methods, including having its employees plant natural dye species in their backyards.

“We’ve tried and discovered new things in CBI programs,” Batik Mayani co-owner Gusak Tilaswangi said. “They’re all very exciting. And we’re very proud that our batiks are helping protect the natural environment.”

However, environmental awareness applies throughout the sustainable batik production process, not just to dyes.

Traditional batik is usually hand-stenciled by teams of women working in an open-air environment that is covered but lacks walls. Even during the day, high-powered lamps are used in these workshops to provide better illumination to the working artisans.

To conserve energy, CBI introduced simple and easy-to-make solar lamps made of water bottles, bleaching agent and tin plates.

With the tin plates set into the roof overhead, the bottles are filled with a bleach solution and inserted part-way into the plates so that the top part protrudes into the sunlight.

“During the day, these bottles transmit sunlight into the workshops,” explained Mohammad Iqbal, a CBI project officer. “Each bottle can output the equivalent of a 55-watt bulb.”

The kerosene stoves that batik artisans have traditionally used to melt wax for stenciling emit fumes that may cause nausea and, over the long run, more serious health consequences.

As such, CBI has introduced, as a replacement, small electric stoves that provide much cleaner energy and are also more cost-effective.

A small batik maker may spend some Rp 250,000 per month on kerosene but the outlay can be as little as Rp 20,000 with electric stoves.

“That’s 90 percent more efficient,” Iqbal said.

Finally, batik artisans usually rinse the wax-resist dyes from raw textiles by immersing them in massive pots of boiling water heated with firewood.

To minimize wood burned, the CBI program introduced a homemade blower that feeds fresh air to the fire.

“This blower decreases the amount of firewood used in the industry by 50 percent,” Iqbal said.

In fact, CBI’s own calculations show that, since 2012, the program has prevented over 1,100 tons of carbon dioxide from being emitted into the environment.

CBI has clearly benefited the environment and the batik home industries involved in its programs. The initiative has also catalyzed valuable collaboration between fashion designers and batik producers.

So, what’s next?

Through to mid-2014, the CBI team will focus on encouraging sustainable batik consumption by raising awareness about eco-friendly batik among local and international consumers.

The Indonesia and international tour of the “EcoBatik Signature Collection” has already kicked off and exhibitions are upcoming at the Singapore Gifts & Premiums Fair (this Wednesday to Friday) and the International Tourismus-Borse Berlin (March 2014).

The CBI team is also lobbying the national government to formulate policies that encourage SME’s to switch to more environmentally friendly ways of making batik.

“We’ve asked [Indonesia’s] minister of industry to establish an independent certification body to guarantee the authenticity of eco-friendly batiks for the customers,” Krummeck said.

The “EcoBatik Signature Collection” is also available at the outlets of the participating designers.

“CBI is a good project that has given us an option to produce batik and save the natural environment,” Carmanita said.

Dutch Designers Pioneer New Batik Style

Jakarta Globe, Katrin Figge, March 23, 2013

For Indonesia\'s high-society women of the 19th and 20th centuries, batik
indicated wealth and status. (JG Photo/Katrin Figge) 

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Batik, the traditional Indonesian cloth hand-made using a wax-based resist-dyeing technique, is as well-known in Indonesia — and abroad — as nasi goreng.

But not everybody is familiar with Batik Belanda; batik featuring motifs influenced by Dutch culture.

Many Dutch citizens who lived in Indonesia during the colonial era took a liking to batik but over time added colors and patterns that were more familiar to their European origins, such as flowers and images from fairy tales.

An exhibition at Dutch cultural center Erasmus Huis in Kuningan, South Jakarta, in collaboration with Jakarta Fashion Week, the Jakarta Textile Museum, Galeri Batik and batik collector Asmoro Damais, is currently showing several batik fabrics made between 1840 and 1940.

At its peak in the 19th century, Batik Belanda may have been produced by the Dutch for their market back home — as opposed to Indonesian women who made batik sarongs for personal, not commercial uses — but the people who worked on the European designs were still mainly Indonesians.

“The term ‘Batik Belanda’ will lead people who are not familiar with it to believe that this is a mainly Dutch thing, which it isn’t,” long-time batik collector Asmoro said at the exhibition’s recent opening.

The oldest fabrics at Erasmus Huis date back to the mid-19th century and are handled with care, as the colors have faded and the cloth is prone to tearing. Other pieces are surprisingly well-preserved.

What they have in common is the representation of a particular era of Indonesian history, and should be regarded as a valuable piece of the country’s cultural heritage.

Foreign influence

More than simply displaying old batik fabrics and new designs, the exhibition also includes excerpts from the 1993 book “Batik Belanda 1840-1940 Dutch Influence in Batik from Java History and Sources,” written by Harmen C. Veldhuisen and translated into Indonesian.

“For many women who used batik at the time, having a big collection of batik sarongs was a proof of their social status,” Veldhuisen wrote. “Batik was also seen as a good, solid investment.”

He added that it was very common among women to show off their collections whenever they received visitors, following the unspoken rule that the larger and older the collection — preferably including family heirlooms — the greater the host’s social capital.

Several Dutch producers played an important role in the batik industry, and interestingly, there were quite a few women among them.

Catharina van Oosterom began producing batik in Semarang, Central Java, in 1845, while Ms. L. Metzelaar did the same in 1880.

“Ms. Metzelaar was the pioneer in using flower patterns as a motif for batik,” Veldhuisen explained, adding that flowers and little birds subsequently became a trend among batik motifs, and Metzelaar’s designs were often copied.

One of the most famous female batik producers of the late 19th and early 20th centuries, however, was Eliza van Zuylen, who introduced intricate patterns and details into her designs as well as Chinese and Arabic nuances that started appearing across the industry.

Batik has also seen Japanese and Indian influences over the years, weaving a rich tapestry of more than just Indonesia’s story and traditions.

Batik Belanda

Through April 4

Erasmus Huis

Jl. H.R. Rasuna Said Kav. S3, Kuningan, South Jakarta

Tel. 021 524 1069

Taking Indonesian Muslim Fashions Around the World

Jakarta Globe, Sylviana Hamdani, July 28, 2012

The hijab is a covering for the hair and neck worn by Muslim
women. (Photo courtesy of HijUp.com, Sylviana Hamdani) 

              

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Local fashion designers aim to turn Indonesia into the world’s Muslim fashion Mecca within the next decade, and in a country with the largest Muslim population, their goal is a realistic one.

More than 85 percent of Indonesia’s population, or more than 200 million people, are Muslim, according to the Central Statistics Agency..

“Indonesia’s Muslim fashion is so unique and varied,” said Muslim fashion designer Nanida Jenahara Nasution.

“That’s mostly because we’re blessed with a wide variety of cultures and traditions. There’s no other country in the world that has as many and as diverse cultures as Indonesia.”

Jenahara is a co-founder of the fast-growing Hijabers Community, a group of well-educated young Muslim women who wear the hijab.

Jenahara started her self-named Muslim fashion label in mid-2011. The daughter of Indonesian actress and fashion designer Ida Royani, she wanted to provide a “chic and edgy” alternative look for Indonesian Muslim women.

Likewise, fashion designer Hanna Faridl said she felt blessed with the country’s cultural diversity.

“Indonesia is so rich,” she said. “As a fashion designer, I just have to look around me to get inspired.”

Hanna is a co-founder of the fashion blog Hijab-Scarf.com. She and two friends, Fifi Alvianto and Anneke Scorpy, also started the fashion label Casa Elana in March last year, offering sleek and modern designs for women who wear the hijab.

But although these designers have established flourishing businesses in their local communities, they said they had struggled to reach a wider market. Jenahara and Hanna both dream of taking their place in the international fashion arena.

“Events like Jakarta Fashion Week and Indonesia Fashion Week do highlight Indonesian Muslim fashion,” Hanna said. “But they mostly feature well-known designers. What do we, as start-up businesses, have to do to get recognized?”

It can be tough to compete with larger labels to get their designs into stores.

“Malls and department-stores expect us to pay very high consignment rates,” Jenahara said.

Young entrepreneur Diajeng Lestari has come up with a solution. Last August, the 26-year-old entrepreneur created an online department store for Muslim women called HijUp.com.

“We’re the first Muslim fashion e-commerce [site] in the world,” said Diajeng. “We aim to promote Indonesian Muslim fashion products in the world.”

HijUp is an abbreviation for Hijab Up.

“We hope our website will help all Muslim women feel ‘up’ when wearing the hijab,” she said.

Last week, the website announced its international e-commerce functionality. By clicking the British flag on the right-hand corner of the website, visitors can read the text in English and see the prices in US dollars.

“The website was originally designed for Indonesian customers,” Diajeng said. “But we’ve received many requests from buyers from many other countries to buy our products.”

At first, Diajeng and her team handled international sales by request only. But as international sales escalated, they believed they needed to create a special feature for buyers in other countries.

“Thirty percent of our sales are international sales,” she said.

“And we’re so proud of this fact. It proves Indonesian Muslim fashion products are much desired internationally.”

Diajeng said the website’s top foreign location for buyers was Malaysia, while the demand-leading Western countries were the United States and United Kingdom.

“Muslim communities are growing rapidly in those countries,” she said.

The website has a clean design that makes it easy to navigate. Its home page features current promotions, favorite products and new arrivals, along with tutorials about how to fashionably wear the hijab.

When visitors click on a product, a new page opens, presenting it from multiple angles. The page also offers detailed information on the item, including its material, size and measurements.

Visitors are required to sign in as members to make a purchase.

Currently, the website has more than 800,000 members worldwide.

Indonesian buyers pay for their purchases with a bank transfer or via Internet banking. International buyers pay through PayPal accounts.

The prices range from Rp 32,500 ($3.50) for accessories to Rp 500,000 for dresses.

Buyers can choose their own delivery methods. Delivery costs are added to the total amount of the purchase.

Deliveries take just two or three days in Indonesia and about a week overseas.

The designers said their presence on HijUp.com has helped boost sales.

“HijUp.com has helped us a lot,” Hanna said.

“We don’t have our own boutique yet. So, whenever we have something new, we just drop it on the website. It’s the one door that leads to anywhere in the world.”

Jenahara also sees the potential for growth.

“With HijUp.com, I believe Indonesia will become the international Muslim fashion Mecca way before 2020,” she said.

Currently, 30 Muslim fashion designers feature products on the website. Most are young, with between three and five years in the industry.

“HijUp.com is more like a bridge or a highway,” Diajeng said.

“We’re an infrastructure that links Indonesian Muslim fashion designers and the buyers.”

Ramadan: Suddenly religious

P.J. Leo, The Jakarta Post, Jakarta | Fri, 08/06/2010 9:05 AM

It’s good: Jetty Pribadi (center), the owner of
Alda JP Design, talks to a prospective buyer.

Ramadan fasting month will come in the next few days and Muslim people from various walks of life have begun to welcome the holy month.

Some Indonesian singers have released religious albums. Many, including celebrities, become suddenly devoted — at least, seen from wearing different cloth styles, such as wearing jilbab or a headscarf. TV stations have promoted their buka (breaking the fast) and sahur (predawn meal) programs. Mosques are full of people performing tarawih prayers.

Sharp-sneezing businesspeople see Ramadan as an opportunity to sell their products: Garments, claimed to be free-alcohol cosmetics, foods and beverages, Islamic CDs and DVDs, umrah [minor haj pilgrimage], for example.

Never give up: Amalia, who is deaf, from Amy Ibrahim
Atmanto Creative House, sews sequins onto a dress.

A recent event, “Fashion and Accessories Expo 2010”, which took place at the Small and Medium Enterprises and Coopertive building in South Jakarta, is an example of Ramadan welcoming.

Held from July 28 to Aug. 1, the annual event with the theme “Cosmos Muslim Fashion” offered a variety of products from local designers and small and medium enterprises.

It also organized creative competitions, workshops and talkshows which were considered ways to attract visitors, mostly women. In religion and capitalism, women are a favorite target.

Haute gown: Long dresses and headscarves
are among choices of Muslim fashion.

Muslims around the world will end Ramadan after a month-long fasting and celebrate Idul Fitri holidays on Sept. 10 and 11.

Idul Fitri is supposed to celebrate the rebirth of Muslims by forgiving each other.

As people get ready for their homecoming to celebrate the Idul Fitri with the big families, many of us put on our best and new clothes for the celebration.

— Text and photos by JP/P.J. Leo

Fashion on the water

Zul Trio Anggono, The Jakarta Post, Kuta, Bali | Sun, 04/18/2010 8:40 PM

Fashion on the water: Dozens of female surfers wearing Javanese long-sleeved kebaya blouses ride a wave Sunday during the Kebaya Surf Culture Exhibition on Kuta beach, Bali. The event was held to commemorate Kartini Day, which falls on April 21. JP/Zul Trio Anggono

Adjie prepares batik clothes for Obama’s visit

The Jakarta Post, Jakarta | Fri, 03/26/2010 8:31 AM

JAKARTA: Fashion designer Adjie Notonegoro has prepared batik clothes for US President Barack Obama and the first lady Michelle Obama as a gift for their long-awaited visit to Indonesia in June.

Adjie, who has also designed batik shirts for former US president Bill Clinton, Cuban leader Fidel Castro and former United Nations’ Secretary-General Kofi Annan, said on Wednesday that he had used the finest silk and meticulous method of batik hand painting.

“I’ve prepared special gifts for Obama’s visit: two batik shirts, two jackets for Obama and his wife and a skirt for Barack Obama’s wife,” he said as quoted by kompas.com.

“I’ve confirmed with the palace protocol division and they have given me permission [to make those gifts],” Adjie said.

In 2009, UNESCO officially declared Indonesia’s batik — a traditional wax-resistant dyeing technique used on textiles — as part of the world’s intangible cultural heritage.

Adjie added he had used pictures of the president to estimate his measurements. “The White House did not send clothes measurement. I can make good enough estimates from pictures of him,” he said.

“I used the best silk and hand painted batik. I chose the patterns. It’s definitely thumbs up!” he said, laughing. Adjie refused to disclose the price of his designs for Obama. “It’s a gift so it’s priceless,” he said with a laugh. — JP

Get Back to Batiks With Iwan Tirta’s Tableware

Jakarta Globe, Sylviana Hamdani, February 19, 2010

The Tumpal Nanas collection was inspired by the batik headpieces worn by servants of the old Javanese imperial courts. (Photo courtesy of Iwan Tirta)

Although better know for his prowess in the world of fashion, feted batik designer Iwan Tirta has lent his considerable talents to something that is probably better associated with the aristocracy of Europe: porcelain.

While most people are familiar with the traditional blue and white china, or the stately sets produced by famous international designers, an Indonesian company is aiming to bring an air of sophistication to the country’s dining tables with traditional, heritage-styled batik designs.

Late last month, PT Pusaka Iwan Tirta, a collaboration between the senior fashion designer and Lydia Kusuma Hendra, the chairwoman of the local ceramics company PT Tri Marga Jaya Hutama, relaunched its first line of ceramic dinnerware.

Called “ Pusaka Maha Karya (“Heritage Masterpieces”), the line consists of two collections — Modang and Hokokai — and is available at the Metro Department Store in Plaza Senayan, South Jakarta.

Priced at Rp 317 million ($34,000), the collections are each comprised of 258 pieces, including a range of plates and bowls, a tea, coffee and espresso set, salt and pepper shakers, as well as water goblets and wine glasses for 12 people. All pieces are plated with 22 carat gold along the rims.

The refined design of the Modang collection is set off by intricate and artistic motifs depicting blue tongues of fire that encircle each piece.

Modang batik was traditionally worn by the imperial and noble families of Yogyakarta as a symbol of their power and unbreakable spirit.

“I do think this [collection] is more beautiful than foreign products,” said Mien Uno, president director of public relations firm Duta Bangsa, at the relaunch.

“The design is very detailed and sophisticated, with Iwan Tirta’s name and a serial number inscribed underneath each piece. That makes it exclusive, like the Royal Doulton collection,” she added, referring to the British premium tableware brand.

By contrast, the Hokokai collection is lively and colorful with vibrant patterns of flowers and butterflies decorating the immaculate porcelain pieces.

Hokokai batik was created during the Japanese occupation in the 1940s, when traditional batik painters in Pekalongan, Central Java, were inspired by the colorful kimonos worn by Japanese women.

“It’s definitely a heritage collection,” Mien said. “These dinnerware pieces beautifully portray the intricate patterns of traditional batik. They would be perfect on my dining table at home. In fact, I think all Indonesians should have one.”

Only 25 sets of the Modang and Hokokai premium collections were produced. And just eight sets remain available for purchase at Metro.

At the relaunch, Iwan Tirta also launched a second line of dinnerware — the more affordable “ Pusaka Indonesia ” (“Indonesian Heritage”) line. This line consists of two collections — Tumpal Nanas and Pandai Sikat — priced at Rp 1.8 million per set. Each collection consist of plates, bowls, cups and saucers for four.

“I hope the Pusaka Indonesia collection can help to acquaint Indonesia’s young generation with our cultural heritage,” Iwan Tirta said.

“This is very important as Indonesian cultural heritage represents our nation to the international world.

“Our cultural heritage can also become a source of inspiration to create new innovative products that are highly competitive in the global market,” the 75-year-old said.

The Pandai Sikat collection was inspired by silk songket (hand-woven fabrics) from Bukittinggi in West Sumatra.

One of the key characteristics of Pandai Sikat is the balapak motif, in which the fabric is almost completely covered with geometrical patterns of gold and silver threads.

The Tumpal Nanas collection was inspired by the batik headpieces worn by servants of the old Javanese imperial courts. The motif consists of triangular patterns that symbolize the governmental hierarchy. For the tableware collection, this is translated into classic triangular motifs merged into the circles that enclose each piece.

The tableware is not just stylish, it is also produced with safety and sustainability in mind.

“Our china is environmentally-friendly,” Lydia said.

“It is produced at a low combustion: 1,000 degrees Celsius. The low combustion means that our production is energy-efficient and safe for the ozone.”

Ceramics are usually fired at about 1,300 to 1,500 degrees Celsius.

“The clay formula is also biodegradable,” Lydia added. “Once you drop the china and bury it in your backyard, the clay will easily merge with the soil. We also use colorings that are free from toxins underneath the glaze to make it safe for food.”

The batik motifs are ingrained by using decal transfer paper placed on top of the ceramics during the combustion process. All the motifs were designed by Iwan Tirta himself.

“Iwan Tirta’s designs have a strong batik soul,” Lydia said.

“It’s because all of his designs are based on original history and traditions.”

Pusaka Iwan Tirta plans to launch a third line, “Pusaka Nusantara” (“Heritage of the Archipelago”), in April.

“If Americans have Vera Wang and Italians have Armani, we shouldn’t forget that we have Iwan Tirta in Indonesia,” Lydia said.

“We should support our national products, especially when a son of the nation, like Iwan Tirta, can produce something of such excellent quality.”